28 · Survey Results: Survey Questions and Responses 11. If you use more than one tool, how do you determine which one to use for an item or collection? Check all that apply. N=49 Nature of the collection (e.g., objects that are part of a manuscript collection may be treated differently than objects in an art collection) 35 71% Stafﬁng/resources available for description 28 57% Material type (e.g., photographs may be treated differently than sculptures) 24 49% Size of collection 23 47% Anticipated use 14 29% Method of acquisition (e.g., purchase, donation, transfer) 5 10% Other method 5 10% Please specify the other method. Artists’ books appear in the online catalog and on the web page. As noted above, we use the simple spreadsheets to track orphans/items disassociated from their larger collections. Inherent value or uniqueness. Also, condition and preservation costs. Value (monetary) for audit issues. We are in a period of transition, but are moving towards using AT for all materials. All collections get EAD and MARC records. Please enter any additional comments about choice of tools. N=9 All collections received have accession records in the AT and receive a collection-level MARC records; more granular description occurs in ﬁnding aids. Almost always a matter of expediency and availability/knowledge of personnel (usually temporary and short-term). Art and artifact materials are treated in a similar way. We rely on MARC records for description in order to integrate information about visual material collections with the Library’s other holdings, although a Prints & Photographs Online Catalog also combines MARC records in standalone databases with MARC records from the library’s ILS. For a particular collection or acquisition, we plan for processing and cataloging by assessing the “Use, Value, and Viability.” We have at least a summary description for each collection, increasingly supplemented by a container list that outlines broad contents or provides an index. Material that is inherently fragile or difﬁcult to handle safely is likely to receive item-level listing or at least item-level tracking through a unique identiﬁcation number, e.g., original drawings and photographic negatives. The collection is insufﬁciently documented. Over the years a little of everything has been used to keep track of it. The most important tools are still the artist’s own manuscript inventories, old published lists and a catalogue raisonné of prints. Volunteers and students have created non-EAD inventories and ﬁnding aids for a few very small parts of the